Author name: Flloyd Kennedy

When Thoughts Collide

    Performance Skills Training   , , , , , ,

Since sending out the flyers, newsletters and emails promoting the new workshop, “Shakespeare’s Archetypes”, I been thinking. This is too important, and too much fun to limit to a two day workshop.  So I have devised a new and cunning plan (to quote Baldrick).

My plan is to call for Expressions of Interest.  Anyone who is interested in doing this workshop is invited to send me their cv and availability.  As soon as there are 6 people ready and willing at the same time, we’ll do it. But be warned, this is not for the faint-hearted. The only way to create theatre that is exciting and dangerous is to take risks. In order to do that, we need a structure we can trust, and that is what this workshop is for.

 

Archetypes are ways of being human. These exercises allow us to explore the many sides of our own, individual humanity, and how this is expressed physically, vocally by our bodies. Working with cue scripts (individual part scripts with three word cues) is almost on a par with bungee-jumping for sheer terror, but it is also enormously rewarding when you get the hang (oops, no pun intended) of it.

If you can’t wait, though, and you’d like to learn more about these techniques, either to enhance your own performance practice, or to explore new ways to introduce students to Shakespeare, let me know anyway. We’ll work it out.

    

The images on this page are from the Archetypes Workshop I conducted at Arizona State University, Phoenix, Arizona April 2011.  Participants are Graduate Students (Master of Fine Arts). Notice how their physical presence, the way they use, and exist in their bodies, shifts from image to image.

Performance Skills Training

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!Extreme Shakespeare!

    Theatre

I had an idea for a workshop, then I had another idea and the collision – or was it collusion? – resulted in “Shakespeare’s Archetypes”, a two day fully immersive program that involves playing with a number of different Archetypes, while experimenting with some of the Original Shakespeare Co’s “rules of the game”.

That seemed like a pretty good plan, but this morning two more thoughts crashed into each other inside my brain (or maybe my heart) and the result is “Extreme Shakespeare”. Thought No 1 was a reaction to Casus‘s beautiful show, Knee Deep, at the Judy last week.  The four performers are technically superb, and because of the way they work together, subtly caring and daring at the same time, they are able to execute some of the most exciting, dangerous moves I’ve seen on stage.

Thought No 2 was a reaction to the National Theatre (of Great Britain)’s production of “Frankenstein“, which I saw at the Dendy Portside yesterday afternoon.  Benedick Cumberbatch played the Monster, with Jonny Lee Miller as Frankenstein.  It is totally inspiring, not just because of Danny Boyle’s wonderfully imaginative staging or Nick Dear’s fine script, but because the actors are central, the acting is central, and they inject the script with so much passion and power that it totally ceases to BE a script, and emerges – as it should – as the very life and soul of the people who speak it.

I Want That!

So, be warned. This workshop will be challenging and demanding.  Not for wimps. It will start at 9.30 am in the morning, and keep going (with coffee/tea and meal breaks) till 9.30 pm at night. For two whole days.  That is 23 hours of intense training-cum-acting, more than some people spend rehearsing a full production.  Maybe at the end we will have a full production.  I doubt it, because I want More Than That!  I want great theatre, with great performers working together to create it. No stars. No celebrities. Just fantastic actors.

If you want that too, and you live anywhere within Southern Queensland, let me know.  The dates are negotiable. If I can find a venue with living accommodation, we can sleep over as well. So no travelling home late at night, and back first thing Sunday morning.  Perfect.

Flloyd

 

Theatre

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